Klaus Nomi

Urgh! A Music War is a British film released in 1982 featuring performances by punk rock, new wave, and post-punk acts, filmed in 1980. Among the artists featured in the movie are Orchestral Manoeuvres in the Dark (OMD), Magazine, The Go-Go's, Toyah Willcox, The Fleshtones, Joan Jett & the Blackhearts, X, XTC, Devo, The Cramps, Oingo Boingo, Dead Kennedys, Gary Numan, Klaus Nomi, Wall of Voodoo, Pere Ubu, Steel Pulse, Surf Punks, 999, UB40, Echo & the Bunnymen and The Police. These were many of the most popular groups on the New Wave scene; in keeping with the spirit of the scene, the film also features several less famous acts, and one completely obscure group, Invisible Sex, in what appears to be their only public performance.

Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!

Beauty Becomes the Beast describes a random access world mediated by TV images and shards of popular culture. The film features a powerful performance by Lydia Lunch regressing from adulthood to childhood, hinting at a sexually abusive past. It concerns itself with the position of woman as subject and the way women experience patriarchal law and the heterosexual order.

From this "inexorable disease", Hervé Guibert did not recover. The miracle he had so much hoped for did not happen. But, before his death in 1991, three years after learning of his HIV-positive status, he engraved in his literary and photographic work "the places of [his] suffering", "the stations of [his] way of the cross". With his thin body and sunken cheeks, the handsome man with curly hair that he was, the one whose clear gaze radiated from the seaside photos, fought a fierce battle against AIDS. A fight of every moment against the decay of the body, observed and commented with a methodical care in his autobiographical novels, in particular "To the Friend Who Did Not Save My Life" (1990) and "The Compassionate Protocol" (1991), and of which he testified on television on the set of "Apostrophes"...